Meet the Jury

How did you find your way into retouching, and what has kept you in it?

I came up through drawing boards and early computers - long before the software looked anything like it does today. When the studio I was working for made its first move onto a Mac-based system around 1993, I got my first real taste of Photoshop, and I took to it immediately. The underlying principles just made sense to me, even when Adobe introduced layers shortly afterwards - which felt significant at the time.

What has kept me going is simple: I genuinely enjoy it. I enjoy the challenges, the constant evolution, and now the new challenge of keeping quality high as AI becomes more embedded in the tools we use every day. There is always something new to get to grips with, and I think that's what makes this work so hard to walk away from.

How long have you been working in the industry, and what phase of your career are you in now?

44 years overall, with about 33 of those in Photoshop. I don't really think of my career in phases - the industry and the software never stop changing, so there's never a point where you can just cruise. I'd love to find more ways to teach and pass on what I've learned, but I'm also very aware that the next great project could be just around the corner.

What kinds of projects or environments have shaped your standards the most?

Ultimately, my eyes set the standards. Knowing when something is right - or knowing what needs to happen to make it right - is the foundation of everything. Working alongside other talented retouchers and photographers has been a constant source of learning, and working with skilled art directors and high-profile brands has given me a useful framework over the years, particularly around timing, budget, and the kind of pragmatism that real-world production demands.

What made you want to be part of the Retoucher of the Year jury?

It seemed like an exciting way to use my powers for good. In all seriousness though - if a retoucher has done their job properly, no one knows it has been done at all. That cloak of invisibility is part of why an award like this one is so necessary. It's genuinely hard to recognise work that is specifically designed not to be noticed, and I think that needs to change.

When working on major campaigns compared to smaller projects, what truly changes?

Very little, from a purely work standpoint. What does change is the need to find methods that scale - workflows that can be shared across a team while keeping quality and results consistent throughout. Getting that process understood and embedded from the start, with everyone clear on their role, is really where the complexity lies on bigger projects.

When you open a new file, what do you look at first before touching anything?

Size, resolution, and colour profile - always. Then, if it's a Photoshop file, I check which layers are locked or hidden, how masks are linked, and how the overall structure has been built. That gives me a clear picture of what I am working with and what I will need to do before I touch anything.

Beyond technical ability, what really determines whether someone builds a sustainable career?

Good communication, and the ability to make other people's working lives a little easier. That means thinking ahead, anticipating problems before they become actual problems, and being the kind of person that clients and collaborators are genuinely glad to have on a project.

What is one insight you wish more retouchers understood early in their career?

The quickest solution is not always the best one. It sounds obvious, but the temptation to reach for the fast fix is real - especially under deadline pressure. Taking the time to find the right approach, even when it takes longer, is almost always worth it in the end.

What separates a good retoucher from a great one?

A deep understanding of light, shade, and colour - and how they behave in real environments. But there is something else too, something I'd call pragmatism. Clients care deeply about their logos and brand colours looking consistent no matter what is happening around them. The ability to deliver genuinely high-quality work while honouring those constraints - without letting one compromise the other - is, I think, where true greatness lives.

What should competition participants focus on to stand out?

A seamless finish and a portable, well-structured layer file. Those two things say more about a retoucher's level than almost anything else.

A final note from us

Forty-four years is a remarkable amount of time to spend in any craft - and what strikes us most about Del is that he still approaches it with the same curiosity and rigour he brought to those early Photoshop sessions in 1993. His conviction that the quickest answer is rarely the best one, and his deep belief that retouching deserves to be seen and celebrated, make him a natural fit for this jury.

We are delighted to welcome Del Frost as a member of the jury for Retoucher of the Year.

About Del Frost

Country: United Kingdom

Years in the Industry: 44

Primary Specialization: Creative and Technical Retouching across all Industry Sectors

Main Expertise: Compositing, Colour Grading and Consistency, Team Integration and Management

Website: frostimagecreation.co.uk

LinkedIn: linkedin.com/in/del-frost-49b92b8